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Independent TV/Film Production in the EU Elena Lai- CEPI Secretary General CEPI.

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Presentation on theme: "Independent TV/Film Production in the EU Elena Lai- CEPI Secretary General CEPI."— Presentation transcript:


2 Independent TV/Film Production in the EU Elena Lai- CEPI Secretary General CEPI

3 The European Coordination of Independent Producers Founded in Paris 1989 Organises and represents the interests of independent cinema and television producers in Europe Representing more than 8000 SMEs/independent production companies in Europe

4 Independent TV Producers 1.A market for programme production based upon fair and transparent competition 2.Development of new programmes and content in production companies 3.Ownership of rights 4.The importance to address the consumers needs

5 Cultural diversity & protection of cultural identities Public/consumer desire for a)diversity of content b)national content Plural sources and opinions – democratic necessity Independent Production: Cultural and political impact

6 The EU perspective Working Group 3

7 Independent productions - According to the AVMS Directive Broadcasters to reserve a minimum proportion (at least 10%) of either their transmission time or programme budget for independent European productions (Article 17); Where are independent producers rights? The BBCs iPlayer service receives 145 milion requests for TV Radio Programme per month in 2011 from independent producers Commercial Broadcaster/On demand Services such as Channel 4s, included content licensed by independent producers With Terms of Trade/Secondary rights placed to embrace the opportunities opened up by online Platforms Independent Productions and archives

8 For entertainment programmes- often regional/national focus not sharing the same sense of humor... TV/Film Documentaries- the boundaries between preserving and commercialising- the Danish case of AV works with limited commercial potential; To make AV-Products online- what cost for the producer? The financial crises and the sustainability of the initiatives undertaken Main problems/obstacles

9 The importance of ISAN and to identify the content on line Why is the ISAN code important for a TV/Film Producer ISAN vs V-ISAN More info on a digital level available Watermarking/Finger Print to track the content For non linear content easier to track the audience rate Interoperable with EIDR and solutions or improvements???

10 Not very suitable solution (see what happened in Denmark with documentaries out of distribution); Much more analysis is needed- we are just at the early stage; The importance of the framework of actions- e.g. FIAPF/ACE Clusters of AV Content?

11 THANKS! Elena Lai CEPI - Secretary General

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